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Endeavor Magic Live / Current Affairs / Endeavor Careers Choicest Blogs: Weekly Current Affairs: October 2022, Week 02
Endeavor Careers Posted on October 10, 2022
Welcome to the Endeavor Editors' Weekly Current Affairs Choicest Blog series. Get a weekly roundup – of news from business, economy, markets, policy, and more. A quick capsule format news summary and update to keep you abreast with all the latest current affairs.
1) International News and Global Economy
Russia takes over operations at Europe's largest nuclear plant
Moving on with his plans to autonomously operate the annexed Ukrainian regions, Russian President Vladimir Putin on Wednesday ordered his government to take over operations at Europe's largest nuclear power station in southern Ukraine's Russia-annexed region of Zaporizhzhia. The power station, which is close to the front lines, has been occupied by the Russian forces since March. Zaporizhzhia nuclear power station is located on the banks of the Dnieper River, only 200 kilometers from the Donbas region, a point of intense conflict between the two armies. It is one of the country's four operational nuclear power plants, having been in operation since 1984, and accounts for roughly 40% of total electricity generated by all Ukrainian NPPs and one-fifth of annual electricity production in Ukraine. The Russian order also comes amid comments from Kremlin spokesperson Dmitry Peskov that the annexed regions are part of Russia now and will not be returned to Ukraine. He also vowed to take back the regions Russia lost to Ukraine in the last few days.
For details visit here.
Russians being prepared for use of nuclear weapons says Ukraine President Zelensky – BBC News
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India abstains from voting for debate on China's human rights situation
India has abstained from voting on a draft resolution in the UN Human Rights Council on holding a debate on the human rights situation in China's Xinjiang province, sources close to the development revealed. The draft resolution on "holding a debate on the situation of human rights in the Xinjiang Uyghur Autonomous Region of China" was rejected in the 47-member Council after 17 members voted in favor, 19 members voted against, including China, and 11 abstentions, including India, Brazil, Mexico, and Ukraine.
Why India abstained from a vote on the resolution to debate China's human rights abuses in Xinjiang
Biden administration clamps down on China's access to chip technology
The Biden administration has announced sweeping new limits on the sale of semiconductor technology to China, a step aimed at crippling Beijing's ability to access critical technologies that are needed for everything from supercomputing to guiding weapons. The moves are the clearest sign yet that a dangerous standoff between the world's two major superpowers is increasingly playing out in the technological sphere, with the U.S. trying to establish a stranglehold on advanced computing and semiconductor technology that are essential to China's military and economic ambitions. The package of restrictions, which was released by the Commerce Department, is designed in large part to slow the progress of Chinese military programs, which use supercomputing to model nuclear blasts, guide hypersonic weapons and establish advanced networks for surveilling dissidents and minorities, among other activities.
U.S 'saves' chip tech from China; Biden admin introduces new export rules, blacklists 31 firms
India, and Brazil abstains from UNHRC vote on Russian rights record
India along with Brazil abstained from voting on the UNHRC draft proposal favoring the appointment of an independent expert to step up scrutiny of Russia's rights record. The UNHRC passed the resolution presented last week by all European Union member countries except Hungary, on a 17-6 vote, with 24 abstentions. The original proposal alleged "mass forced shutdowns" of independent media, non-governmental organizations, and opposition groups in Russia. It is the first time the council has authorized a special rapporteur to look into human rights issues in any of the five countries that are permanent members of the UN Security Council.
North Korea fires more Ballistic missiles, seventh in two weeks: Seoul
North Korea fired two ballistic missiles into the sea early Sunday, Seoul's military said, the seventh such launch in two weeks, just hours after a nuclear-powered US aircraft carrier wrapped up joint drills off the Korean peninsula. Seoul, Tokyo, and Washington have ramped up combined naval exercises in recent weeks, infuriating Pyongyang, which sees them as rehearsals for invasion and justifies its blitz of missile launches as necessary "countermeasures". With talks long-stalled, Pyongyang has doubled down on its banned weapons programs, firing an intermediate-range ballistic missile over Japan last week, with officials and analysts warning it has completed preparations for another nuclear test.
North Korea launches new ballistic missiles over Japan l GMA
Haiti asks the world for military help to curb the chaos
Haiti has asked for foreign military support to curb its gang violence crisis which has paralyzed the country. The Haitian government authorized Prime Minister Ariel Henry to request armed help due to "the risk of a major humanitarian crisis". The US meanwhile urged its citizens in Haiti to leave due to the insecurity. A group of powerful gangs has blocked the country's main fuel terminal since September, crippling its basic supplies like water and food. It is not clear to whom the request for intervention has been sent, and in what form the help would be given. The UN said it had not received an official request from Haiti's government.
Global CEOs expect the recession to be mild, short: KPMG survey
Nearly 58 percent of about 1,300 global chief executive officers (CEOs) expect the recession to be mild and short, a survey of KPMG revealed. The report also said that the CEOs anticipated this recession, looming large, to hit over the next year. The leaders were asked about their strategies and outlook during the survey. In the KPMG 2022 CEO Outlook, fourteen percent of senior executives identify a recession among the most pressing concerns today, which is slightly up from 9 percent in early 2022. Pandemic fatigue tops the list with 15 percent. However, more than 8 out of 10 i.e 86 percent global CEOs anticipate a recession to hit over the next year, with nearly 71 percent predicting it will impact company earnings by up to 10 percent, said the survey.
2) India
India counters UK Home Secretary Suella Braverman's claim on visa overstayers
India has countered UK Home Secretary Suella Braverman's claim that the Migration and Mobility Partnership (MMP) had not "worked very well" to say that India had initiated action on all cases raised with it under the agreement. In response to a PTI query about Braverman's interview in 'The Spectator' saying that Indians are the "largest group of people who overstay" their visas in the UK, the Indian High Commission has said that India awaits "demonstrable progress" on certain commitments undertaken by the UK government under the MMP that was signed last year.
India issues demarche to Canada against upcoming Khalistan Referendum II
On 15 September this year, a month after a Mahatma Gandhi statue was vandalized in New York, videos emerged of a Hindu Temple getting defaced in Canada. The gates of BAPS Swaminarayan Mandir in Toronto, one of the largest temples in Canada, were spray-painted with the words "Khalistan zindabad" (long live Khalistan) and "Hindustan murdabad" (death to India). This has become a cause for concern as the Narendra Modi government has served the Canada High Commission a demarche to be conveyed to the Prime Minister of Canada Justin Trudeau, expressing discontent and urging the Canadian government to stop the Khalistan referendum scheduled to be organized in Ontario on 6 November. A demarche is a formal diplomatic representation of the official position, views, or wishes on a subject from one government to another government or intergovernmental organization. It often denotes a note of protest or petition presented through diplomatic channels between governments.
India's first solar-powered village will light up today; ?3,900 crore spent
On October 9, Prime Minister Narendra Modi will recognize Modhera, a village in Gujarat's Mehsana district that is known for its Sun Temple, as India's first solar-powered village, marking a significant step toward spreading renewable energy. More than 1,000 solar panels have been put on village homes, the Gujarat government reported in a series of tweets, providing the people with electricity 24 hours a day. Significantly, they will receive cost-free solar electricity. In accordance with the Prime Minister's goal of boosting the use of renewable energy in India, it has assured the sustainable implementation of a number of welfare projects in Gujarat, the Gujarat government claims.
3) Economy
World Bank lowers India's GDP growth forecast to 6.5% from 7.5% for 2022-23
The World Bank has cut its 2022-23 (FY23) real gross domestic product (GDP) growth forecast for India to 6.5%, from an earlier estimate of 7.5%, while warning that spillovers from Russia's invasion of Ukraine and global monetary tightening will weigh on the economic outlook. Private investment growth is likely to be dampened by heightened uncertainty and higher financing costs,' the World Bank said in its twice-a-year report. The international financial institution also noted that slowing global demand will impact the country's exports. This is the third time the World Bank has revised its GDP growth forecast for India in FY23. In June, it slashed its FY23 GDP growth forecast for India to 7.5%. Earlier in April, it had trimmed the forecast from 8.7% to 8%.
India better placed than others, still on course for 7% growth, says CEA
Chief economic adviser V Anantha Nageswaran said India is still on course for 7% growth in the current fiscal year although "downside risks dominate the upside risk" it's "better placed" than other countries. "What gives us strength is the fact that domestic consumption is the biggest driver of growth,". "I would argue that once the current one-off exogenous external shocks dissipate, I am still confident that the sustainable growth rate will be closer to 7%." He dismissed reports of JP Morgan not including India's sovereign bonds in a widely popular global index due to concerns about the country's market infrastructure. "We have to understand that the stated reasons are not real reasons–this is a very specious excuse," he said. "India's infrastructure is far more advanced." India has made its stance clear about not giving up its sovereign right to tax, he said.
Services sector growth loses pace, hits 6-month low in September
India's services sector growth slowed to a six-month low in September, but remained in expansionary mode, a private survey showed. The S&P Global India Services Purchasing Managers' Index dropped to 54.3 from August's robust 57.2 level. A reading above 50 on the index indicates an expansion in activity. The aggregate rate of input cost inflation eased to a 22-month low in September due to broad-based slowdowns in manufacturing and services, while selling price hikes were the "weakest in six months", S&P Global said. There was a continued revival in business confidence, with sentiment at its highest level in over seven-and-a-half years in September.
4) Markets, Banking, and Finance
RBI to soon commence the pilot launch of Digital Rupee releases concept note on Central Bank Digital Currency
The Reserve Bank of India on Friday said it will soon commence the pilot launch of the e-rupee for specific use cases and also released a concept note on Central Bank Digital Currency (CBDC) that aims to create awareness about such currencies in general and the planned features of the Digital Rupee in particular. As the extent and scope of such pilot launches expand, the RBI will continue to communicate about the specific features and benefits of the digital rupee, from time to time, it said in a statement. "The e-rupee will provide an additional option to the currently available forms of money. It is substantially not different from banknotes, but being digital it is likely to be easier, faster, and cheaper. It also has all the transactional benefits of other forms of digital money," the RBI said.
SEBI orders Indian credit agency Brickwork Ratings to shut down
India's market regulator on Thursday ordered Brickwork Ratings India Pvt Ltd to wind down operations within six months, citing "failure to exercise proper skill, care and diligence" while discharging duties as a credit rating agency. In a rare order, the Securities and Exchange Board of India (SEBI) canceled the certificate of registration of Brickwork Ratings and prevented it from taking on any new business, saying there have been repeated lapses in the functioning of the rating agency. "The repeated lapses, noticed across multiple inspections conducted by SEBI, shows that governance changes recommended in earlier inspections, and monetary penalties imposed have not proved effective," the regulator said in the order. SEBI has been tightening disclosure rules for credit rating agencies since 2016, in a bid to boost transparency and accountability after a number of sudden sharp corporate rating changes.
5) Business
Gautam Adani announces Rs 65,000 cr investment in Rajasthan
Richest Asian Gautam Adani has announced a Rs 65,000 crore investment in Rajasthan over the next 5 to 7 years in setting up a mega 10,000 MW solar power capacity, expanding cement plant, and upgrading Jaipur airport. The investment by the ports-to-energy conglomerate that Adani heads also spans city gas infrastructure for retailing CNG to automobiles and piped gas to households and industries as well as laying transmission lines to carry renewable power. Adani Group is investing Rs 50,000 crore to add 10,000 megawatts of renewable power generation capacity. Besides, it is looking to double its cement manufacturing capacity following its acquisition of Ambuja Cements and ACC.
TCS carves out two new telecoms, 5G business Units
Tata Consultancy Services has carved out two new business units dedicated to telecom and 5G solutions led by industry veterans, according to sources. The company has created a network solution and services unit (NSS), under the communications and media vertical, to cater to 5G rollout and engineering solutions led by Vimal Kumar. It has also created a cognitive enterprise network unit (CEN), within the enterprise growth group, to offer intelligent network management solutions led by Satya Pitta. India's largest IT services company by revenue, TCS has been bullish on the 5G opportunity and has been vocal about industry access to the 5G spectrum.
Indian startups in focus as Tiger Global eyes $6 billion venture fund
India has emerged as a major highlight in Tiger Global's plans, even as the New York-based investment firm targets a corpus of $6 billion for its new venture capital fund, according to a letter sent to its limited partners, or sponsors, on October 6. The latest fund, which aims to rack up $6 billion, is substantially smaller than the $12.7 billion technology vehicle it closed earlier this year, as per international media reports, but the fund size was initially planned for over $8 billion. Among the largest tech-focussed funds globally, Tiger Global said India's OfBusiness, a business-to-business (B2B) e-commerce firm for raw material procurement, has been one such bet where it has a meaningful holding and the business has grown quickly with compelling margins. OfBusiness, which is also backed by Japan's SoftBank and Alpha Wave, is valued at nearly $5 billion.
'Avoid Indian-Origin Candidates': Infosys faces "Culture Of Bias" suit in the US
Infosys, the Bengaluru-based IT giant, is facing a bias suit in a US court after a former executive, in a complaint, last year, accused the company of discrimination in its hiring process, based on age, gender, and nationality. Jill Prejean, a former Vice President of Talent Acquisition with Infosys, claimed she was asked to avoid hiring candidates of Indian origin, women with children, and candidates above 50 years of age, according to reports. She made the shocking admission before the United States District Court for the southern district of New York. Ms. Prejean had filed the suit against the company, former executives of the company, and partners in September last year.
AIGF urges TN to reconsider online gaming ban, says move 'unconstitutional'
The All India Gaming Federation (AIGF) has urged the Tamil Nadu government to reconsider the ordinance passed by the state to ban online skill games. The industry body termed the move "unconstitutional" and said "it disregards 6 decades of established legal jurisprudence. The Federation also believes that the ban can have an adverse effect on the state and will push more and more people toward illegal offshore websites. "What this ordinance in effect does is treat and conflicts games of skill as gambling and games of chance," said Roland Landers, CEO of AIGF. The Federation said that India is the fifth largest online gaming market globally and skill-based gaming, a sunrise sector, is giving birth to an increasing number of unicorns within the country. A ban may, therefore, push people towards illegal offshore websites.
The impact of the Tamil Nadu Government's ordinance to ban Online Gaming
Crypto exchange WazirX lays off 40% of staff in a bid to weather volatile markets
Indian crypto exchange WazirX laid off 40% of its staff last week, including members from its policy, communications, and marketing teams, as per reports. WazirX in a statement to Coindesk said "The crypto market has been in the grip of a bear market because of the current global economic slowdown. The Indian crypto industry has had its unique problems with respect to taxes, regulations, and banking access. This has led to a dramatic fall in volumes in all Indian crypto exchanges." With these recent layoffs, WazirX joins the long list of crypto firms looking to cut down on their workforce due to the economic downturn. Since June, several crypto companies began to lay off, freeze withdrawals, and go to any extent to stem losses.
7) Politics
M K Stalin elected again as DMK chief sets sight on winning 2024 Lok Sabha polls in Tamil Nadu
DMK stalwart and Tamil Nadu Chief Minister M K Stalin was unanimously elected as party president at the party's general council meeting held here on Sunday. In his address following his election, Stalin asked office-bearers to take a vow to work towards securing a landslide victory for the party in the 2024 Lok Sabha (LS) polls and emerge in national politics as an unassailable force. The party should win all the 39 Parliamentary constituencies in the state and the lone seat in neighboring Puducherry as well, he said. This is the second time Stalin is being elected unopposed as party chief.
EC bars Uddhav Thackeray, and Eknath Shinde camps from using the Shiv Sena name, the symbol for Maha bypoll
The Election Commission on Saturday barred the Shiv Sena factions led by Uddhav Thackeray and Eknath Shinde from using the party name and its election symbol. In an interim order over the claims by the rival factions for control of the organization, the commission asked them to suggest by Monday three name choices for their groups, and also as many free symbols. The Commission can allocate the name and symbol to both factions from the options submitted.
8) Sports
Lionel Messi says the 2022 World Cup will 'surely' be his last
Argentina captain Lionel Messi said Thursday that the 2022 World Cup in Qatar will "surely" be the last of his career. Messi, who is due to appear in his fifth World Cup, made his international debut in 2005 and has since won 164 caps for Argentina and is the country's all-time record scorer with 90 goals. Messi's international debut as a substitute against Hungary in 2005 lasted just two minutes before he was sent off but he quickly established himself in the national team set-up and traveled to Germany for his first World Cup in 2006. He went on to play in the 2010 edition in South Africa, in 2014 in Brazil, where Argentina reached the final, and in 2018 in Russia.
Norway Chess: Viswanathan Anand claims another win over world champion Carlsen; leads standings
Indian ace Viswanathan Anand returned to winning ways, upstaging world No.1 Magnus Carlsen in the fifth round of the Classical section early on Monday in the Norway Chess tournament to climb to the top spot. After defeating the Norwegian superstar in the Blitz event that preceded the Classical section, Anand claimed the victory in a thrilling Armageddon (sudden death game) after the regular match ended in a 40-move draw. In Armageddon, the 52-year-old Anand recreated the magic of old when he stunned Carlsen to post a win in 50 moves. With 10 points in his kitty, the Indian GM leads the field with four more rounds to go in the prestigious tournament which features some of the best players in the sport.
India beat South Africa by seven wickets in the 2nd ODI
India beat South Africa by seven wickets in the second ODI to level the three-match series here on Sunday. India chased down the target of 279 with 25 balls remaining, riding on a brilliant 113 not out off 111 balls from Shreyas Iyer and 93 from Ishan Kishan. South Africa had won the first match by nine runs on October 6 in Lucknow.
Lovlina, Jaismine and Hussamuddin confirm medals at National Games
Olympic bronze winner Lovlina Borgohain and Commonwealth Games medal-winning duo of Mohammed Hussamuddin and Jasmine Lamboria assured themselves of a medal each at the National Games boxing competition after recording quarterfinal victories here on Sunday. Even as the fancied names made progress, Gujarat's Asifali Asgharli Syed and Ruchita Rajput lined up for a podium finish, giving the home crowd much to cheer about.
9) Opinion
India will not be the next China
Up until 1990, India was slightly richer than China on a per capita basis, but since then China's economy has grown far faster than India's. In this video let's look at the structural issues in India's economy that have thus far prevented it from achieving the same level of economic success as China.
Transaction declined: why Prosus scrapped the $4.7 billion PayU-BillDesk deal
Prosus, the investment arm of South African multinational Naspers, has terminated the $4.7 billion acquisition of online payments gateway firm BillDesk by the Dutch-listed company's Indian subsidiary PayU Payments. The "abrupt move" announced on Monday was triggered largely by the ongoing correction in global markets that rendered the year-old transaction "over-priced". The firm's decision to pull out of the deal comes barely a month after India's anti-trust regulator – the Competition Commission of India (CCI) – had approved the contours of the deal that was first announced in August 2021. This ends what would have been the second-largest buyout of an Indian digital technology startup after Walmart's $16 billion purchase of a majority stake in online retailer Flipkart in 2018.
Reality check: Are NFTs dead?
There's no doubt about it: Non-Fungible Tokens (NFTs) are in trouble. The bull run that existed all throughout 2021 has long been left behind in the dust. Now, liquidity has dried up and trade volumes have plummeted, with the most popular marketplace OpenSea reporting a decline of over 90% in daily trading volumes since its peak around May. Things turned for the worse as OpenSea laid off about 20% of its workforce in July to tide through the adverse market conditions. As per the recent Bloomberg report, NFT trading volumes have tumbled 97% since January, the report implies that the fading NFT mania is a component of a larger $2 trillion wipeout in the crypto sector caused by a rapidly tightening monetary policy that is depriving speculative assets of investment flows.
Courage, politics & geopolitics of Nobel Peace Prize — Think Putin & bestie, Lukashenko
Nobel Peace Prize winners are from Lukashenko's Belarus, Putin's Russia & Zelensky's Ukraine. Shekhar Gupta on who the winners are, their courage, and also geopolitics from Belarus' Ales Bialiatski and his decades-old tussle with Lukashenko.
Crisis point: Europe's economic future | Business Beyond
Russia's war in Ukraine has drawn renewed attention to Europe's role on the world stage. Having displayed a unified response to Russian aggression by imposing sanctions on Moscow and helping millions of Ukrainian refugees, the continent is now facing other urgent challenges including the cost-of-living crisis, energy shortages, and an increase in extreme weather. In this video, we explore how the European Union's unique history informs its response to various crises, how national and common interests collide, and how the next decades could be shaped by new trading relationships, particularly with Africa.
10) Weekly special
JM Financial's Vishal Kampani on the India growth story
Like most views, Vishal Kampani is bullish on India and its future. He reasons it out with a cross-assimilation of three different paradigms — Stability and long-term vision from the government at the center coupled with a corporate sector with low cash balances, barely any leverage, and who are willing to invest and mass flow of consumer households savings to financial instruments. Moreover, he insists that the availability of domestic capital sources will reduce India's dependence on foreign capital, making it a 7-8% growth story for the next 20 years. "Putting together advancements in design, innovation, low-scale labor, and a massive push in terms of energy sources and infrastructure in the country, there's no reason India can't be a manufacturing hub in the coming years. The entire world is our market," says Vishal. Vishal bets on India becoming one of the best-performing markets globally by 2030.
11) Did you know?
As the world celebrates Nobel Peace winners, a question: Why didn't Gandhi ever win the Prize?
Up to 1960, when anti-apartheid activist Albert John Lutuli was honored, the Peace Nobel went almost exclusively to Europeans and Americans. According to the Nobel website, Gandhi was a 'different' man — not a real politician or proponent of international law, not a humanitarian relief worker, not an organizer of global peace congresses. The Committee's archives do not suggest that a possible adverse British reaction to an award to Gandhi was ever taken into account. In 1947, a majority of the Committee had doubts about the consistency of Gandhi's pacifism, triggered by a misleading news report that quoted him as saying that "if there was no other way of securing justice from Pakistan… the Indian Union Government would have to go to war against it", and "Muslims whose loyalty was with Pakistan should not stay in the Indian Union".
With that, we come to the end of our Weekly Current Affairs October 2022 -Week 2. We hope you have liked it. Write your feedback in the comments below and let us know if there is anything else you would like us to cover.
Welcome to the Endeavor Editors' Weekly Current Affairs Choicest Blog series. Get a weekly roundup – of news from business, economy, markets, policy, and more. A quick capsule format news summary and update to keep …
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Welcome to the Endeavor Editors Weekly Current Affairs Blog series. Get a weekly roundup -on news from business, economy, markets, policy, and more. A quick capsule format news summary and update to keep you abreast with …
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15.03.2018 Text: Boris Ivanov
Review of the cartoon "Wild ancestors"
A sweeping but trivial puppet cartoon comedy about primitive savages who are forced to learn how to play football.
Wild ancestors (2018) / Early Man
animation / comedy / Adventures / family / Fantasy
Producer: Nick Park
Starring: Tom Hiddleston, Eddie Redmayne, Macy Williams, Timothy Spall, Richard Ayoadi
The primitive tribe lives happily in the valley near the places where Manchester will be built in the future. Suddenly, the valley is captured by the kingdom of the Bronze Age, which far surpasses the local inhabitants in terms of development. When a member of the Dag tribe makes his way into the city of the invaders, he learns that they adore the game of football and put it above everything else. Therefore, Doug proposes a wager to the conqueror of Gnus. If residents of the valley beat the best team of the kingdom in football, then they will get freedom. If they fail, they will work in the mines for the rest of their lives. The gnus agrees, and Doug begins to train his fellow tribesmen for the competition they are hearing for the first time.
A frame from the cartoon "Wild ancestors"
Wild cartoon characters basically do not hunt for mammoths. This is historically true. Contrary to popular myth, our ancestors preferred smaller prey, as mammoths were very dangerous and maloedible
England is considered the birthplace of football, but throughout the history of their national football team, the English have only once won the World Cup and have never reached the European Championship finals. This is their great national pain, and it is not surprising that in England was greeted with a new cheerful animated cartoon master puppet animation Nick Park ("Wallace and Gromit"), Which transparently hints at English relations with football. Like, "we gave birth to him, but the best players are strangers, so we can only believe in the team and hope for a miracle."
The scenery of the cartoon was built on a huge studio, whose total area is 4,7 thousand square meters
Russia did not invent football, but we can also learn our team in obtuse and clumsy savages, who need a foreign coach (Doug invites the city trader Gunu, who loves football) to find out where the gate is and how to get into them. This will help watch the "Wild Ancestors" and root for the main characters. And help will be needed, because in general the picture of Park was frankly second-rate.
No, the master and studio Aardman Animations did not lose the ability to work with plasticine dolls, and "Wild ancestors" - their most grandiose and technically difficult work. However, the screen scale in our days does not surprise anyone. There would be a budget, but there will be dolls! Otherwise, "Wild ancestors" - a mixture of banal characters, a worn-out story about the "decisive match" and a lot of jokes and visual jokes, among which you can count on the fingers of two hands really funny. If you watched the trailers of the cartoon, then you saw most of these jokes, and the picture will surprise you only a few times. This is not the efficiency for which you need to rush headlong into the cinema and buy tickets for the best seats.
At one time Aardman first came to mind when it came to the excellent puppet animation. But this era has passed. Now at the top of the American studio Laika, and Aardman was in a position catching up. One can only hope that this competition will lead to the birth of more successful tapes than the "Wild Ancestors". However, small children interested in sports can quite enjoy the amusing football story with a primordial aftertaste and the "right" morality about how important it is not to give up and act together. Adults also get the main pleasure from the search for scattered over the film "hidden" background gags in the style of "airplane". Although this will be easier to do when the picture gets to the video and it can be viewed in frame-by-frame viewing.
And yet - do not show the film to the anthropologists and everyone who is angry with the image of living people and dinosaurs. We do not put this "Wild ancestors" in reproach, because the picture clearly does not claim to scientifically based image of ancient life. But those for whom it is important at least a minimum likelihood, a cartoon can make you crazy.
Since 22 March at the cinema.
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New posters of "Wild ancestors" from the creators of "Escape from the chicken coop."
Portion of fresh poster cartoons "Wild ancestors".
The third trailer of the cartoon "Wild ancestors" was released.
A new trailer for the cartoon "Wild Ancestors" was released.
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After 29 years, Irene Heller still tries to get a better look at women who resemble her daughter, Linda Kay Carroll.
She still hopes to hear her daughter�s voice on the phone.
Heller knows she won�t see her daughter again alive, but she can�t help herself.
�In my head, I know, but in my heart I don�t want to admit it,� she said.
Carroll was last seen at her home in Crestview on Sept. 25, 1984. She was 24.
Neighbors reported hearing her screaming and a car speeding away that night.
Carroll never has been found. She was living alone at the time after her husband left her and took their two children weeks before.
Heller reported her missing two days later after she found the house empty save for some strange items, including clumps of hair.
Okaloosa County sheriffs� deputies initially thought Carroll had left on her own, Heller said. She believed otherwise. As time went on and Carroll failed to turn up, the investigation picked up.
Heller became obsessed with finding her daughter, and it took its toll.
After about two years, she scaled back, shifting her focus to raising her other children, including Cheryl Penrod, who was 14 when her sister disappeared.
As an adult, Penrod learned everything she could about her sister�s case. At some point you make up your own scenario as to what happened to your loved one, she said.
The family can�t bring themselves to declare Carroll dead. Years ago, Penrod organized memorial services at the family plot in Niceville, but Heller canceled them.
Both women just want to bring Carroll�s body home. Then they�ll finally know where she is.
�You just have to give it to God,� Heller said. �That�s the only person that can answer my questions, anyway.


text:
Претаре () насеље је у Италији у округу Асколи Пичено, региону Марке.

Према процени из 2011. у насељу је живело 175 становника. Насеље се налази на надморској висини од 917 м.

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Насеља у округу Асколи Пичено
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redpajama_set_name: RedPajamaWikipedia


text:
Graylog contentpacks for EU data Retention - Plesk hosts
kerk1v
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graylog-plesk-eu-dataretention
This project aims to provide a series of tools - together with the excellent Graylog2 logging centralized logging - to comply with the "Directive 2006/24/EC of the European Parliament and of the Council of 15 March 2006 on the retention of data generated or processed in connection with the provision of publicly available electronic communications services or of public communications networks and amending Directive 2002/58/EC"
This directive poses a real threat to the operability of smaller ISPs and professionals providing internet services at a small scale, who normally do not have the infrastructure or the resorces to implement a large-scale data retention as per said directive.
This project shall be seen as an approach to fulfil the requirements of this directive with minimal technical and personnel overhead and using readily available open source software and tools.
In no way does this project make any claim to be compliant, whether fully or in part, with the requirements of said directive, it is upon the user of any of the tools and / or files provided in this repository to check for the compliance with the legal requirements of his own country and how the directive 2006/24/EC has been translated into his own national legislation.
Done so far:
Mail contentpack keeping all Postfix logs about incoming and outgoing SMTP mail.
Please sign in to rate this add-on.
demarant about 1 year ago
@kerk1v Please unlist this content-pack. It is not relevant anylonger since:
On 8 April 2014, the Court of Justice of the European Union declared the Directive invalid in response to a case brought by Digital Rights Ireland against the Irish authorities and others[1][2][3] because blanket data collection violated the EU Charter of Fundamental Rights, in particular the right of privacy.
see: https://en.wikipedia.org/wiki/Data_Retention_Directive and https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32006L0024
now we actually have to do minimal data retention (as necessary for debugging and security) thanks to GDPR and ePrivacy is also coming soon.
would you please unlist this content-pack?
kerk1v about 3 years ago
Updated today, get new content pack for mail from github, just delete the existing input and re-load the content pack.
Hi, I am the initiator of this collection of content packs aiming at compliance of the Directive 2006/24/EC on data retention for communication providers. Ideas about a log you need? Let me know here or on Github. Would you like to help? Great, please join me!


I count myself lucky that I can earn a living programming with Ruby and in particular with the Ruby on Rails framework. But every tool, even the best, has a few surprises up its sleeve. Sometimes you get hung up on something quirky, but more often you're having a problem with a feature—something that's there by design. This is my story about one such problem I had with a Rails feature, how I diagnosed it, and what it means: metaprogramming is awesome, but it comes at a price, and in imperative languages, the price is side effects.
Debugging code is a singular experience. If you're like me, you have to take a breath and remind yourself that the solution to your problem is going to be logical. Once you find it, it will make sense. It will almost certainly fit into your understanding of the framework, library, or language you're using. It might expand your understanding a bit, but it won't be alien. You have to trust that, because when a bug is obscure, and you can't figure out where to look for it, it's all to easy to become convinced that someone out there has it in for you. Possibly the computer. All too often the symptoms of the bug and the information you can obtain about it are just nonsense. Something that just can't be happening is absolutely happening.
Here's my specific case. I'm programming a web app in which online customers can register credit card information for later use in making purchases. The app's data store doesn't keep any sensitive information; instead, it sends it on to a payment gateway that exposes an API for storing and retrieving these credit cards' information. Our data store just keeps a bare minimum of app-specific information about the cards, e.g. whether the card is the customer's primary card or not.
Great. Except as I tried out actual integration tests, I kept getting the most bizarre errors when deleting a credit card. They were telling me I wasn't passing enough information to the gateway to save the card information. Save? I was trying to delete! Does Rails fire a before_save callback before a before_destroy callback? Nope. And yet that seemed to be what was happening.
As a way to blow off steam, I fired off a Tweet about my frustrations: why was before_save happening before before_destroy?
Paul's comment shows the value of a consistent view of the world when debugging. In an imperative programming language, side effects, or changes in the state of data or objects, are lurking behind every line of code. If you remember this, you can tackle a bug by trying to find a side effect that is causing the nonsense. And Paul was 100% right in my case.
When you insist that you can handle the truth, backtrace shows you every method that your code has passed through. It's a lot of data to take in, but it's a good way to find out what's going on out of your sight. In my case, I found a mention of something called remove_from_list firing just after the code requesting a credit card record be destroyed. remove_from_list is part of the acts_as_list plugin, and it updates a record to set its position attribute to nil.
So powerful. In fact, a little too powerful for me, since this one line registers remove_from_list as a before_destroy callback. It does it magically, through meta-programming. That callback assignment doesn't appear in your code, although you can imagine it "happens" right on the line with the acts_as_list declaration.
So that was my problem. I had code attempting to update the record before it was destroyed, and thus my before_save callbacks were firing.
in my code, to make sure remove_profile would be called before remove_from_list. In Ruby, the order of declarations often determines the precedence of similar operations. In Rails, callbacks occur in the order in which they're registered, which in this case is the order of the lines of code in my model file.
Second, I made a little attribute called mode for my credit card class and had remove_profile set the mode to :destroy. Since remove_profile is the first callback that is called on destroy, the setting of mode happens before any other callbacks fire. Then I added a check in save_profile to just return true if mode were set to :destroy. So when remove_from_list triggers save_profile, save_profile doesn't try to communicate with the gateway. And that solved the problem.
I wanted to post this for two reasons. First, when I was debugging, I did a bit of googling to see whether anyone had encountered a problem with callbacks happening out of order. I didn't find anything. So a post with specifics might be useful to someone suffering the same affliction.
Second, I thought this was a great exercise in debugging a Ruby on Rails app. The Exception class's backtrace method is a great tool, especially when combined with the built-in logger object. Also, I was helped out by keeping a development journal, just a text file that I type and copy interesting things into. When I'm debugging, trying to give shape in words to the problem I'm having often helps me find details and patterns that lead to a solution. I hope my experience might help you out of a similar jam.


The ideal decoration used in cool bedroom ideas for teenage guys small rooms is an important choice. Moreover, all these settings allow you to get a very different comfort. The important elements given are usually part of all adjustments to determine a better pattern. This is done by determining some opportunities with the desired concept. The size of this bedroom does look smaller. However, you have many opportunities to use additional integration through a quite different layer concept than any other integration. This choice becomes part of the additional implementation of the desired option.
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Board rules may be approved flowing from powers of the Board and any areas provided in The Accounting Profession Act.
The Board may make, adopt or approve Board rules for any purpose authorized under the Act and the Bylaws, with the approval of not less than a two-thirds (2/3) majority of the members of the Board. The Registrar shall notify each registrant of each Board rule within thirty (30) days after the Board rule is made. Failure to notify each registrant does not invalidate a Board rule.
No Board rule shall come into force until the date specified in the Board rule.
The Board may at any time repeal, amend or replace any Board rule that has been made, adopted or approved. The Registrar shall review the Board rules annually and may propose amendments.


Over time, a warehouse can accumulate excess inventory-related material, personal possessions and general clutter that can affect the operation's overall productivity. If you work in or run a warehouse in the Woodway area, it can sometimes be difficult to notice these things piling up and affecting the quality of your work. But where you may not notice these things, there is no question that to guests, customers or suppliers visiting the site, a warehouse that appears disorganized or dirty can indicate that efficient work is not taking place.
If your Woodway warehouse has lost a step in its efficiency or you simply haven't found the right people to provide you with proper warehouse-keeping, then it's time you give Sally's Maid Service LLC a call. Sally's Maid Service LLC has been providing the best warehouse cleaning services in the Woodway area for many years and we guarantee that you are going to see an uptick once our trained janitors get the chance to work on your warehouse.
On top of receiving an extensive amount of training to make sure we never miss a spot and that we don't pose an inconvenience to your staff, our janitors are fully licensed, bonded and insured. So, all you have to do is give Sally's Maid Service LLC a call, let us know what your desired frequency is and if there are any specific things you need done and we will be happy to give you a free estimate on our warehouse cleaning services. Once that's done, just sit back and watch the quality of your work improve.
You may think that the state that your warehouse is in is no big deal. Truth be told, if you neglect to provide your warehouse with the necessary maintenance and upkeep, the following problems could be waiting to strike and impede you from completing your most basic objectives.
Nothing kills a potential deal like a customer seeing how cluttered your facility is. When you aren't able to present an organized warehouse, people tend to assume that you can't be trusted to ship order accurately. Your warehouse needs to look dependable and that begins with its general cleanliness.
If your supervisor sees that your warehouse has diminished in cleanliness and organization, they will likely think that you have lost pride in your responsibilities or not holding employees accountable for their actions. When you don't appear to have control over the quality of your environment, don't be surprised to be a casualty.
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text:
Radical Graffiti Chic
Sponsored by L.A.'s aristocracy, the Museum of Contemporary Art's new show celebrates vandalism.
David McNew/Getty Images
Some call it art: the 4th Street Bridge in Los Angeles, a city-designated monument defaced by graffiti.
Drive behind the Geffen Contemporary, an art museum in downtown Los Angeles, and you will notice that it has painted over the graffiti scrawled on its back wall. Ordinarily, that wouldn't be surprising; the Geffen's neighbors also maintain constant vigilance against graffiti vandalism. But beginning in April, the Geffen—a satellite of L.A.'s Museum of Contemporary Art—will host what MOCA proudly bills as America's first major museum survey of "street art," a euphemism for graffiti. Graffiti, it turns out, is something that MOCA celebrates only on other people's property, not on its own.
MOCA's exhibit, Art in the Streets (reviewed here), is the inaugural show of its new director, Jeffrey Deitch, a former New York gallery owner and art agent. Deitch's now-shuttered Soho gallery showcased vandal-anarchist wannabes whose performance pieces and installations purported to strike a blow against establishment values and capitalism, even as Deitch himself made millions serving art collectors whose fortunes rested on capitalism and its underpinning in bourgeois values. MOCA's show (which will also survey skateboard culture) raises such inconsistencies to a new level of shamelessness. Not only would MOCA never tolerate uninvited graffiti on its walls (indeed, it doesn't even permit visitors to use a pen for note-taking within its walls, an affectation unknown in most of the world's greatest museums); none of its trustees would allow their Westside mansions or offices to be adorned with graffiti, either.
Even this two-facedness pales beside the hypocrisy of the graffiti vandals themselves, who wage war on property rights until presented with the opportunity to sell their work or license it to a corporation. At that point, they grab all the profits they can stuff into their bank accounts. Lost in this antibourgeois posturing is the likely result of the museum's graffiti glorification: a renewed commitment to graffiti by Los Angeles's ghetto youth, who will learn that the city's power class views graffiti not as a crime but as art worthy of curation. The victims will be the law-abiding residents of the city's most graffiti-afflicted neighborhoods and, for those who care, the vandals themselves.
MOCA's practice of removing graffiti from its premises represents cutting-edge urban policy; too bad its curatorial philosophy isn't equally up-to-date. Graffiti is the bane of cities. A neighborhood that has succumbed to graffiti telegraphs to the world that social and parental control there has broken down. Potential customers shun graffiti-ridden commercial strips if they can; so do most merchants, fearing shoplifting and robberies. Law-abiding residents avoid graffiti-blighted public parks, driven away by the spirit-killing ugliness of graffiti as much as by its criminality.
There is no clearer example of the power of graffiti to corrode a public space than the fall and rebirth of New York's subways. Starting in the late 1960s, an epidemic of graffiti vandalism hit the New York transit system, covering every subway with "tags" (runic lettering of the vandal's nickname) and large, colored murals known as "pieces." Mayor John Lindsay, an unequivocal champion of the urban poor, detested graffiti with a white-hot passion, but he was unable to stem the cancer. The city's failure to control graffiti signaled that the thugs had won. Passengers fled the subways and kept going, right out of the city. To the nation, the graffiti onslaught marked New York's seemingly irreversible descent into anarchy.
Yet in the late 1980s, the city vanquished the subterranean blight by refusing to allow scarred cars onto the tracks. That victory was a necessary precondition for the Big Apple's renewal in the following decade; it was the first sign in years that New York could govern itself. Riders flooded back—by 2006, 2 million more passengers each day than in the eighties. The subway's rising ridership was a barometer of the city's rising fortunes.
Not everyone welcomed the conquest of subway graffiti. From its inception, New York's tagging epidemic spawned a coterie of elite propagandists, who typically embraced graffiti not despite but because of its criminal nature. "You hit your name and maybe something in the whole scheme of the system gives a death rattle," hopefully wrote Norman Mailer, graffiti's most flamboyant publicist, in 1973. A glossy book of subway photographs by Henry Chalfant and Martha Cooper, published in 1984, became known as the graffiti movement's "Bible" for having inspired youth and adults the world over to deface property. (MOCA's show will honor Chalfant and Cooper.) Such propaganda could reach absurd levels of pomposity. Mailer suggested that Puerto Rican graffitists were criticizing modern architecture (why they attacked Beaux Arts structures with equal zeal was not explained); journalist Richard Goldstein imagined Parisian vandals as budding deconstructionists, hip to the "decenteredness" of the "floating signifier." By the time Chalfant and Cooper's Subway Art was reissued in a fancy 25th anniversary edition, complete with a glowing blurb from Jeffrey Deitch, the graffiti-glorification industry was in high gear, counting thousands of books, magazines, documentaries, gallery shows, and websites dedicated to giving taggers the facile notoriety that they craved.
The two guest curators of Art in the Streets, Roger Gastman and Aaron Rose, are longtime members of this graffiti-glorification industry; both have produced documentaries on "street art." Gastman's film, Infamy, profiles (among several other taggers) what it calls "an industry-standard classic" of the graffiti subculture: a gangly, fast-talking young hustler named Earsnot. Understand Earsnot, and you understand everything you need to know about the world that MOCA deems worthy of celebration.
Earsnot is a member of Irak, an infamous New York City tagging crew. Only a graffiti ignoramus would think that "Irak" is a political reference; rather, it is a play on "I rack," that is, I steal. (Stealing is so entrenched a practice among graffiti vandals that a line of spray paint designed exclusively for graffiti, Montana Colors, is sold only by mail order. The company is underwriting Art in the Streets.) Earsnot, who sports flashy platinum mouth bling, justifies his crew's name every day. The camera follows him as he shoplifts a silver Magic Marker from a New York hardware store ("You need to be fucking David Copperfield to get a couple of Magic Markers out of this store," he grouses), calmly tries it out on three mailboxes, and then petulantly complains about the quality of the merchandise: "This marker is such shit." Earsnot has a strict code of what he will not deign to purchase. "I will not pay for Gore-Tex, chicken cutlets, steaks, or meat," he announces self-righteously. "If I pay for something, I feel really stupid about it—I could've racked that shit." As the camera lovingly chronicles his tagging spree across Manhattan, he shares his personal philosophy: "I like it especially when I can see the cops and I'm catching my tag and I'm like, 'I can see where you are so I'm not getting caught.' You want to fucking break the law and there's nothing you can fucking do. I'm going to be fucking bad. You can make the laws; it doesn't mean everyone will follow them."
Far from being appalled by Earsnot, Infamy's creators are clearly charmed by him. The documentary's publicity materials highlight his mockery of his hardworking victims and revel in his crew's lawbreaking. Irak's "motto is 'Every night is New Year's Eve,' and their days and nights are a sea of graffiti, drugs, theft, and rolling like kings into the best nightclubs and parties," reports the film's advertising copy. "Each day as the crew wakes up, they're all broke again, so they head to the shops and boutiques of New York—where Black kids such as Earsnot are usually followed by watchful staff—and still manage to commit grand larceny without a problem." Cool! Of course, Infamy's producers would deem those watchful staffers racist, though the documentary provides solid justification for their concern, in Earsnot's case.
Earsnot's amoral sense of entitlement is at the core of graffiti culture. One of Deitch's favorite graffiti vandals, Saber, defiantly tells the camera in Infamy: "I write graffiti, and you gotta deal with it." (Saber's fame comes from having painted on the Los Angeles river channel the largest graffiti moniker ever recorded.)
Though infantile solipsism drives the graffiti phenomenon, its perpetrators often dress up their disregard for others as grand political gesture. Naturally, they turn to that tired trope of privileged Western leftists: the evil of business. The standard line among graffitists and their fans is that because big, bad corporations advertise, vandals have the right to deface other people's property. British cult hero Banksy writes in his glossy coffee-table book Wall and Piece ($23 on Amazon): "The people who truly deface our neighborhoods are the companies that scrawl giant slogans across buildings and buses trying to make us feel inadequate unless we buy their stuff. They expect to be able to shout their message in your face from every available surface but you're never allowed to answer back. Well, they started the fight and the wall is the weapon of choice to hit them back."
Leave aside the fact that corporations buy advertising space in a fair exchange, whereas the graffiti vandal commandeers others' rights. Leave aside, too, that graffiti is scrawled as often on public as on private property. The real puzzle of Banksy's left-wing platitudes is how defacing a civic monument, say (Banksy has tagged the base of an already cruelly assaulted Mercury in Barcelona, as Wall and Piece proudly documents), hurts Def Jam Recordings when it advertises the latest Kanye West album on the Sunset Strip. Banksy apparently feels that his name and his stencils are so compelling that they weaken corporate power wherever they are found.
Barry McGee, long in the Deitch orbit, is another political philosopher manqué. Beautiful Losers, the documentary made by MOCA's second guest curator, Aaron Rose, shows the 40-something McGee adding his tag, TWIST, to severely scarred walls and stairwells. The film then settles down to an interview with the pensive master. As McGee pushes a stick and pebbles around on a patch of bare dirt, his eyes averted from the camera and covered with a loose shock of hair, he disburdens himself of the following gem: "I think the basic tag, and tagging, and tagging on private, like, you know, on private property, I like to think of it as something that's, like, really political and, you know, as antagonistic, but it's not really that antagonistic. If it's antagonistic, you know, get rid of it, like, with a roller, but I think the act in itself is antagonistic."
The late graffiti vandal Dash Snow, a pathetic, self-destructive heir to the de Menil fortune and a colleague of Earsnot's in the Irak crew, was asked in a Web video what he believed in. "I don't believe in the laws or the system by any means. I try not to obey them at any time," the strikingly beautiful faker mumbled in response, unable to make eye contact with the interviewer. Snow won notoriety for his "Hamster Nest" extravaganzas, wherein he and a collaborator would trash a hotel room by opening all the taps, pulling the curtains off their rods, and shredding dozens of phone books while ingesting industrial quantities of drugs. Snow also showed his disregard for "the laws" and "the system" by dribbling newspaper photographs of police officers with his own semen. Jeffrey Deitch managed to commission this visionary to re-create a Hamster Nest in his gallery before Snow died, at age 27, of a drug overdose.
Shepard Fairey, who became widely known for the ubiquitous HOPE poster that he designed to support Barack Obama's presidential campaign, was already famous in the graffiti world for slapping stickers with an image of an old World Wrestling Federation character and the command OBEY over various city surfaces. Fairey, who will be contributing what he calls "graphic re-illustrations of my outdoor work" to the MOCA show, also invokes commercial advertising to justify the defacement of public and private property. In a rambling 1990 manifesto, he noted that some people had tried to peel his OBEY stickers off mailboxes and lampposts, viewing them as an "eyesore and an act of petty vandalism." Such unenlightened actions were "ironic," he wrote, "considering the number of commercial graphic images everyone in American society is assaulted with daily."
As for Jeffrey Deitch himself, the petite, tightly wound "gallerist" is a far more cautious speaker than the graffiti vandals he patronizes, affecting an almost Warhol-like blankness. His chic suits and self-designed round glasses contrast sharply with the jeans, T-shirts, and baseball caps favored by his downtown poseurs. Yet beneath that Zegna blazer beats the heart of a Deadhead, he wants us to know. Art Forum interviewed him in 2010 in anticipation of his move to Los Angeles. "I'm a child of 1960s idealism, where we really believed that art and a progressive attitude toward life could change consciousness," he told the magazine. He particularly valued the late Keith Haring, a graffitist and poster artist, for "warning us about subversive forces in the military, government, business—entities we needed to keep fighting against."
So what happens when these critics of corporate power and bourgeois values see an opportunity for profit? They turn into grasping capitalists. Earsnot's Irak crew "now offers its services as fashion and lifestyle consultants, along with their IRAK NY clothing line," report the Infamy producers. Banksy's stencils have pulled in hundreds of thousands of pounds at Sotheby's auctions. Saber, who declares in an interview with the graffiti journal Arrested Motion that "there is no room for empathy when there is a motive for profit," has sold his designs to Levi's, Hyundai, and Harley-Davidson. Other graffiti thugs featured in Infamy have contracts with Nike, Guinness, Foot Locker, and Calvin Klein, all of which have been wont to "scrawl giant slogans across buildings and buses trying to make us feel inadequate unless we buy their stuff." Snow managed to choke down his contempt for "the system" long enough to suck up the proceeds from the sales of his works to the Greek investor Dakis Joannou, an important Deitch client, and the art dealer Charles Saatchi, among others.
Fairey had already been busily leveraging his obey-sticker notoriety into lines of clothing and collectibles (as well as continuing to vandalize property) when he struck it rich with the Obama poster. The Associated Press sued him for appropriating its Obama photograph without permission. So unwilling was Fairey to share any of his wealth with the AP that he knowingly perjured himself in court and submitted false images to cover up his use of the photo. He finally settled for an undisclosed sum in January 2011, stating primly, "I respect the work of photographers"—but only, it seems, when a lawsuit forces him to.
Art in the Streets cocurator Gastman also runs a publicity agency, R. Rock Enterprises (RRE), whose website boasts in fawning marketing-speak: "Our artists can design cutting-edge graphics and logos for brands seeking to communicate with a progressive, art-savvy audience. [RRE] has a wide range of clients, from major corporations to independent small businesses." Could Gastman be producing—gasp!—corporate advertising? The same Gastman who approvingly quotes a Philadelphia vandal: "Graffiti to me was war with the establishment—bombing corporate and government, big-money stuff"?
Deitch outdoes all these rebels in his savvy exploitation of property rights. Early in his career, he "shamelessly" ingratiated himself with the superrich, he informed The New Yorker in 2007. By 1988, he was making as much as Citibank's CEO. Today, as he yachts around the Greek isles with his industrialist clients and generates fat commission fees for procuring the identical stable of big-name hucksters (Jeff Koons, Damien Hirst, Takashi Murakami) for billionaires' art collections, his income undoubtedly makes those early returns look puny.
Deitch intends to turn MOCA's museum store into a corporate showcase, notwithstanding the antibusiness play-acting of his "street art" retinue: "We are looking at a rapidly changing landscape where many advertisers don't want conventional print or television ads," he told Art Forum. "They want to connect with the community in a more interesting way, and there is subsequently great potential for museums to work with sponsors, for partnerships with luxury and consumer brands."
Not to fear: "transgressive" is still one of the highest compliments that Deitch can bestow. For one of his New York dinner parties, he commissioned a performance piece in which unclothed gay Austrians urinated into one another's hats while standing on a scaffold above the dinner guests. The work was "spectacular, perverse, uplifting, beautifully horrifying, and deeply transgressive," Deitch told The New Yorker. The desperation of the art impresario to find anything that can still "transgress" in the endless post-Duchamp era is a piteous thing.
Jeffrey's Poodle
If you'd like further proof of the hunger for status and wealth that lies beneath the antiestablishment pose of graffiti vandals, look no further than their toadying to powerful patrons. In December 2010, Jeffrey Deitch ordered that a mural on the outside of the Geffen Contemporary that he had commissioned for Art in the Streets be painted over. (This mural, by the Italian "street artist" Blu, was separate from the nondescript graffiti tags that are regularly erased from the Geffen's back wall.) The mural's dollar-bill-draped soldiers' coffins were inappropriate, Deitch said, given the Geffen's proximity to a Veterans Affairs hospital and to a memorial to Japanese-American soldiers.
The graffiti blogosphere angrily accused Deitch of "censorship." Shepard Fairey, however, sprang to Deitch's defense with an obsequiousness that would make a courtier at Versailles look like a paragon of principle. "I'm not a fan of censorship but that is why I, and many of the other artists of the show, chose to engage in street art for its democracy and lack of bureaucracy," Fairey oozed in a prepared statement. "However, a museum is a different context with different concerns. . . . Street art or graffiti purists are welcome to pursue their art on the streets as they always have without censorship. I think that though MOCA wants to honor the cultural impact of the graffiti/street art movement, it only exists in its purist form in the streets from which it arose."
Fairey has strung one non sequitur after another here. The fact that "street artists" can continue vandalizing their usual haunts does not make Deitch's alleged "censorship" acceptable. Presumably, Fairey would not have accepted the argument that George W. Bush could have thrown Cindy Sheehan in prison because other war protesters were still at large. Further, "street artists" take up graffiti not to defy "censorship" heroically, as Fairey implies (graffiti, after all, is painted over far more frequently than commissioned artwork), but because they want the thrill of breaking the law.
Of course, Deitch could be legitimately defended on the ground that he was not, in fact, censoring anything. Censorship is what happens when the government exercises monopolistic coercion over citizen expression. Private patrons, by contrast, have no obligation to preserve the work that they have commissioned. But that argument would put Fairey at odds with the contemporary art establishment, which claims free-speech martyrdom every time a private institution rejects its work.
The most hilarious aspect of Fairey's statement, however, is the noblesse oblige with which he "welcomes" graffitists to continue defacing other people's property. Who is Fairey to issue such an invitation? As for his pretentious claim that graffiti is "democratic," he has obviously never asked a property owner whether his vote was taken in the matter of being vandalized. For Fairey, "democracy" means being able to take what you want from someone else, without consequences.
Other prominent "street artists" under Deitch's wing simply went mute after the mural effacement. "They're being silent because they don't want to jeopardize the opportunity to be in the exhibit," street muralist and gallery owner Alex Poli, Jr. told the Los Angeles Times. So much for courage in standing up to the Man.
Even before Deitch arrived in Los Angeles, the "street art" community was bowing and scraping. "Jeffrey is a phenomenal businessman," cocurator Aaron Rose said to the magazine Fast Company in January 2010. This may be the first time that a member of the graffiti establishment has used the term "businessman" as an honorific.
How much serious thought had Deitch given to graffiti before bestowing MOCA's imprimatur upon it? Available evidence suggests: zero. Deitch's understanding of the impact of graffiti on civic life is as superficial as that of the perpetual adolescents whose posturing he bankrolls. I spoke with him in January, after a screening at MOCA of a documentary about a kitschy underground cartoonist, Robert Williams. Middle-aged art-world groupies in tight miniskirts, black boots, and bright red lipstick buzzed around Deitch, taking pictures, while Deitch, in a tan suit and open collar, projected cool impassivity. "What is the message you hope to send with the graffiti show?" I asked. "To take this really seriously," he replied. "What about the fact that graffiti appropriates someone's property?" "I'm not going to be moralistic about it." Deitch means "moralistic" as a put-down; one wonders whether, if his luxury car were stolen, he would consider it "moralistic" to call the police.
Property owners bring graffiti on themselves, according to Deitch. "You'll be blasted if you use roll-down gates or if you don't keep your property up and be welcoming," he asserted. Nonsense. Graffitists don't distinguish among "welcoming" and "unwelcoming" proprietors; they hit the most eye-catching, status-producing target, or simply whatever is at hand, such as the Geffen Contemporary. Moreover, that Deitch would fault a struggling store owner in a crime-plagued area for using roll-down gates suggests just how clueless he is about the world beyond Spring Street in Soho and Melrose Avenue in Los Angeles.
The assertion that graffiti is retribution for irresponsible proprietor behavior is inconsistent with Deitch's decision to celebrate graffiti with a museum exhibit. If graffiti were a positive urban art form, it would not allegedly be inflicted as punishment for poor community relations; it would be conferred like a Good Housekeeping seal of approval. Deitch's ascription of fault to graffiti's victims at least suggests a slight pricking of conscience about his glorification of graffiti—unfortunately, not one strong enough to stop the exhibit.
Certain inescapable implications follow from the decision to mount a graffiti show in a museum. Deitch has clearly confronted none of them. The city and county of Los Angeles annually spend over $30 million on graffiti abatement, a sum that does not include law enforcement and court time, private outlays, or the hidden costs of fear and lost neighborhood vitality. The city could save a lot of money by suspending its graffiti-eradication efforts. "Should it?" I asked Deitch. "I don't know," he responded. This will not do. If graffiti is a boon, the city should not waste its money trying to paint it over. If the city is right to paint over graffiti, why is Deitch promoting it?
To be sure, some graffiti murals are visually striking, showing an intuitive understanding of graphic design (though their representational iconography is usually pure adolescent male wish-fulfillment, featuring drug paraphernalia, cartoon characters, T&A, space guns, and alien invaders). In theory, it might be possible to mount a show that acknowledged the occasionally compelling formal elements of wall-painting without legitimating a crime. Such an exhibit would include only authorized murals, whether past or present, and would unequivocally condemn taking someone else's property without permission. No graffiti propaganda has ever abided by such limits; the MOCA show will not, either.
And for good reason. What defines graffiti is its "commitment to vandalizing property," as Richard Goldstein wrote in his catalog essay for a 2009 graffiti show at the Fondation Cartier in Paris. "To be a graffiti writer, you have to hold down your fucking name," one of Gastman's subjects explains in Infamy. "Graffiti belongs illegally. It does not belong on canvas but on a building or a train."
Deitch's lack of serious thought regarding graffiti has a long pedigree. In 2000, Barry McGee and two other graffiti vandals created a mock-up of a ghetto street inside Deitch's Soho gallery, Deitch Projects. A few thousand people showed up for the opening-night party. "It turned out," Deitch told Art Forum, "that Barry had brought some friends along to 'get the word out,' tagging the neighborhood." McGee's friends used what Deitch appreciatively called "an entire countercultural communication system of tags on doorways and stickers on mailboxes." It didn't occur to Deitch to ask: What about the property owners who were not consulted about this "countercultural communication system"? Who will remove the tags and stickers? To Deitch, the nameless, faceless property owner is out of sight, and hence out of mind.
McGee's installation at Deitch Projects, called "Street Market," was a harbinger of the sensibility that Deitch is bringing to Art in the Streets—and it is fitting, therefore, that MOCA will reproduce the installation. As McGee and his two fellow "artists" were assembling their mock-up check-cashing business, liquor store, and bodega inside Deitch Projects, officers from the New York Police Department arrested one of them and an assistant to McGee outside the gallery on outstanding warrants for graffiti vandalism. "Artist" Todd James had painted his tag on a middle school in the Bronx the previous year. The assistant, Josh Lazcano, had defaced a building south of Chinatown.
It is beyond comprehension how a 28-year-old, as James was in 1999, could be so juvenile as to deface a school. The only thing Deitch found shocking, however, was the police's effrontery in accosting his "artists." "This is unprecedented," he fumed to the New York Times. "I have never, never in my experience known artists to be arrested while they're putting up a serious museum exhibit in a leading gallery." Apparently, the owner of a "leading gallery" can confer immunity from the law upon anyone in his orbit.
Deitch's Disneyesque barrio gave New Yorkers who would never dream of getting off the subway north of 96th Street that delightful frisson of proximity to the underclass, just as the graffiti cult provides affluent viewers with the sense that they are in touch with authentic ghetto culture. Of course, anyone who did occasionally visit East Harlem in 2000 would have known that, by then, the most immediate risk facing a stranger from midtown was difficulty in locating a Starbucks. A visitor would also have observed that trucks in the barrio do not lie on their sides in the middle of the street, as portrayed in "Street Market."
But those overturned trucks may have been inspired by nostalgia for the good old days of New York lawlessness, before Mayor Rudolph Giuliani's conquest of crime in the 1990s. When Steve Powers, one of the graffitists behind the "Street Market" installation, arrived in New York in 1989, the first thing he saw was a "cop car totally burned out and every trash can in Tompkins Square Park on fire," he says in Beautiful Losers. "And I was like, 'I could like this, this is what I'm talking about!' " Such anarchist sympathies did not, of course, inhibit Powers from selling his "work" for tens of thousands of dollars at Deitch Projects in 2000.
A target audience for Art in the Streets is black and Hispanic teenagers, whom the museum expects to crowd the Geffen Contemporary. The museum is planning on doing outreach to Los Angeles schools, Deitch said, presumably as insurance in case the teenagers don't come.
It would have been useful if Deitch had spent time talking with garden-variety ghetto graffitists. Curiously, the vast majority of graffiti thugs who have gained art-world notoriety are white and middle-class. One would never think of accusing the art world of racism, of course. Still, that skew means that wealthy graffiti patrons like Deitch may not be fully informed about what a graffiti lifestyle means to a black or Hispanic boy raised by a single parent in a marginal neighborhood. Deitch could find out easily enough by traveling less than a mile and a half from his exquisite office on Bunker Hill to Homeboy Industries, a gang-intervention agency just east of downtown.
What Deitch would learn from Homeboy Industries' Latino clientele is that the "cholo" graffiti in MOCA's show blights young minority lives. Every midnight hour that a child spends tagging or "piecing" is an hour not spent studying or sleeping—the former activity, enabled by the latter, crucial to escaping the barrio. Ivan Gonzalez, a 35-year-old in a checked shirt, baseball cap, and black hipster glasses, started tagging in eighth grade in Gardena, a small city in Los Angeles County close to Compton. He dropped out of school in the eleventh grade and has never held a job for more than a year. "It all coincided together," he says. "The drugs, the tagging, the stealing. To be out at night, I'd be all high on meth to go writing." Gonzalez would ditch school the next day, too tired to attend classes. He continued tagging with the Graffiti Bandits Krew for the next two decades, finally serving a four-year prison sentence for vandalism. Asked if he would advise a 16-year-old to study or to write graffiti, Gonzalez replies: "Study, especially if you have drawing talent. My friends are now either in prison or doing things I no longer want to do."
Carlos Mesa, a squat 30-year-old with crucifix necklaces, a shaved head, and tattoos on his arms and neck, tells a similar story. He was once a bookworm, he says. "I loved getting good grades, but one guy changed it all." Mesa followed his mentor into Graffiti 'N' Drugs, a tagging crew based in tiny Pico Rivera, south of Los Angeles, and started ditching school every day. After going to two or three periods to get credit for attendance, he would take off to "mark spots" all over the Southland. "We were marking so many spots, we got known," he recalls. "It feels good. People let us know that we were recognized." This reputation came with the usual price. Mesa dropped out of high school to pursue an obsession that continued—as is typical with graffiti vandals—into adulthood. In 2004, he led the police on a high-speed car chase through the streets of Whittier, another small community in the Los Angeles basin, after they spotted him tagging. Luckily, it was late at night and he didn't hit anyone, he says, but he spent 16 months in prison for the escapade. Prison taught him a few lessons: "In prison, you don't got a friend. The people you've been destroying all these walls with, they can't even write you a letter." Mesa says that he doesn't want his sons, whom he is raising as a single father, to follow in his footsteps. I ask him how he plans to prevent them from doing so. "I would show them the outcome of my life."
The violence that afflicts minority neighborhoods is frequently tied to the graffiti cult. Graffiti apologists insist on the distinction between "bad" graffiti produced by gangs and "good" graffiti produced by tagging crews, allegedly dedicated solely to tagging. The distinction is phony. "The line between tagging and gangbanging is very thin now," says Gonzalez. "Young taggers today are not hesitant to carry guns and shoot people like everyone else." And when cops bust a large tagging crew, they usually find fugitives wanted on outstanding warrants for car theft, assault, and drug trafficking. Both Mesa and Gonzalez have been shot at by rivals; many of Mesa's graffiti partners, including the captain of Graffiti 'N' Drugs, have been killed. Mesa's oft-battered jaw structure is held together by a set of metal braces.
One can only wish good luck to those barrio parents who want to keep their children out of the tagging and gang lifestyle once word gets out that a fancy downtown museum is honoring graffiti with a major exhibit. Children who deduce from Art in the Streets that graffiti is a route to fame and contracts with Nike will have about as realistic an understanding of their career odds as boys who think they don't have to study because jobs await them in the NBA.
The ultimate responsibility for Art in the Streets lies with MOCA's buzz-hungry trustees. They knew exactly whom they were getting in Jeffrey Deitch, who had a reputation for promoting "street art." But when Deitch first proposed a graffiti exhibit, any adult with the slightest awareness of urban issues should have felt at least a twinge of ambivalence. A conscientious trustee might have asked himself: "If I woke up one morning and found that my home had become the site of 'street art,' would I be delighted by this windfall or furious at the assault on my property? Would I call the Art Historical Society to register this addition to my home, or the cops and a painting service?" In case the answer is not obvious, let's listen to the taggers themselves. "I've never written on my own house," says Gonzalez. "And I wouldn't like it if someone else did it on my house." Mesa finds my question about whether he would tolerate graffiti on his home silly. "Why would you want to fuck up your own area?" he asks me. "That's why you go out and mess up other people's cities."
Assuming that the conscientious trustee concludes that he would not welcome a surprise gift of "street art," he might then ponder: "Where do I think that unauthorized graffiti is appropriate—on the walls of MOCA? On Disney Hall, the Frank Gehry–designed concert hall across Grand Avenue from MOCA? Or simply on some struggling laundromat on Cesar Chavez Avenue in East Los Angeles?" If none of the above, why is the museum promoting it?
MOCA's trustees include hugely successful executives from Hollywood, real estate, and finance. Their wealth was made possible by the rule of law, which allows them to take risks and make investments, knowing that their contractual and property rights are secure. Banksy claims that "crime against property is not real crime." Do the trustees agree? If someone were to vandalize the trustees' intangible property—plundering their hedge-fund accounts, say—they would sic their attorneys and the feds on the thieves in a heartbeat. But the defacement of physical property is a crime that affects the poorest property owners far more than the wealthiest. Identifying with the victims of graffiti may thus be difficult for MOCA's moguls.
Nevertheless, one of MOCA's trustees in particular should try, since he is the direct beneficiary of the most important graffiti-eradication project in history. Darren Star is the creator and executive producer of the blockbuster TV show Sex and the City, which premiered on cable in 1998. Sex and the City would never have been conceived had New York not defeated subway graffiti. Without that success, New York would have continued its spiral of decline—and it sure wouldn't have provided the backdrop for a sex comedy in which single women clomp through the city in their Manolo Blahniks at 2 am seeking their next conquest. The final elimination of subway graffiti in 1989 was the precondition for the reincarnation of New York in the 1990s as the embodiment of urban cool. No New York rebirth, no Sex and the City, no fortune for Darren Star. Star—who lives in Beverly Hills, a neighborhood not known for graffiti—wouldn't comment about Art in the Streets.
Other MOCA trustees have benefited almost as obviously from the New York renaissance. As New York restored order first to its subways, then to the rest of the city, the value of the trustees' property shot up. Charles S. Cohen owns the D&D Center in Manhattan, a design center catering to the most upscale interior decorators, as well as the similarly targeted Pacific Design Center in Los Angeles. Edward Minskoff owns a luxury residential and commercial development in Tribeca that boasts a Whole Foods Market, a Bed Bath & Beyond, and a Bank of America. These are just the sort of tenants that graffiti ideology designates for targeting, at least until the tagger gets an offer to illustrate a new line of bath towels or organic salsa. Billionaire paper-company mogul Peter Brant lives in Greenwich, Connecticut, but occupies a Soho office with a Prada store at ground level. It is unlikely that either the Prada store or the stables sheltering Brant's polo ponies would tolerate graffiti. Steven Mnuchin, founder of a New York hedge fund, put his Park Avenue apartment on the market, presumably graffiti-free, for $37.5 million in 2009. None of these New York–centered trustees would speak about the MOCA show, either.
Graffiti is equally remote from the lives of MOCA's Los Angeles–based trustees. Cochair David Johnson's film-production company (dedicated to "socially and politically relevant film and television") is located on the most prime and immaculate piece of Santa Monica real estate, Ocean Avenue. MOCA's other cochair, soap-opera producer and writer Maria Arena Bell, lives in Bel Air, whose wooded roads and hidden estates are patrolled 24 hours a day by private guards. Someone spray-painting a security gate or street sign in Bel Air would last maybe a minute before being apprehended by guard dogs, a groundskeeper, or Bel Air's private security. Timothy Leiweke is president of Los Angeles's Staples Center sports arena and the adjacent L.A. Live, a downtown entertainment and residential complex. If any of the urban youths visiting Art in the Streets decide to try out the new designs they've learned on L.A. Live's Ritz-Carlton, they won't get far.
And then there's founding member and life trustee Eli Broad, the billionaire home builder who bailed MOCA out of impending bankruptcy in 2008 and who, it's safe to assume, can exercise considerable influence over programming decisions. Broad has constantly lauded Deitch's commitment to "populist"—read: minority-targeted and pop-culture-based—shows. When asked for an opinion of Deitch's inaugural "populist" show, though, Broad suddenly pled ignorance. "That is not something that he would comment on," his assistant told me. "He didn't feel that he had enough background; other trustees are more appropriate." Broad has undoubtedly not given a moment's thought to how MOCA's glamorization of "cholo" graffiti can be reconciled with his philanthropic efforts to close the academic achievement gap.
Many graffiti apologists claim that inner-city children have no other outlets for artistic expression than vandalizing property. The claim is ridiculous: a box of 16 watercolors at Target costs $1.99, while paper and pencil, the basis of all achievement in the visual arts, are no more expensive. But if this is the MOCA trustees' thinking, there are far better ways for them to support the artistic potential in the barrio. They could redirect some of their millions to the Youth Orchestra of Los Angeles, the local version of the Venezuelan music program for the poor that nurtured conductor Gustavo Dudamel, who is electrifying L.A. audiences at Disney Hall. Or they could donate to MOCA's next-door neighbor, the Colburn School, a music conservatory and performing-arts school. The Colburn already provides early-childhood arts education but could undoubtedly expand its reach with increased philanthropic help.
What unites the players in MOCA's graffiti show, which will travel to the Brooklyn Museum in 2012, is self-indulgence. The graffiti vandal combines the moral instincts of a two-year-old with the physical capacities of an adult: when he sees a "spot" that he wants to "mark," he simply takes it. Jeffrey Deitch and his trustees can toy with the "outlaw vibe" (as Aaron Rose euphemistically puts it) of graffiti, knowing full well that their own carefully ordered lives will be untouched.
The inner city is not so protected. Art in the Streets will earn MOCA accolades from the already standard-free art world, but it will only increase the struggles of Los Angeles's poor communities to enjoy a modicum of the security and order that the wealthy take for granted.
Heather Mac Donald is a contributing editor of City Journal and the John M. Olin Fellow at the Manhattan Institute.
Heather Mac Donald discusses "Radical Graffiti Chic"
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Heather Mac Donald April 1, 2011


Thank you all for your attendance at Burger Night on Sunday. The final Home & Away evening was one of the best attended for years. Great to see so many boys and girls running around enjoying themselves. Unfortunately, the grounds and Club rooms were left a mess of drink containers and paper. In future, let's not be litter bugs.
Thanks to the Under 15's for their BBQ attendance and doing such a great job in feeding the masses. Also, to Dave and Kev behind the bar and Nina for her coordination.
Well done to our sponsors for making the night a fun filled affair with their support and being involved, not just on the night, but for the year.
Committee, Colts, Youth Girls and helpers, you were great in assisting to set up and cleaning up afterwards. This great Club continues to lead the field because of your gracious help.
Thanks to all our Coaches for Season 2018. As each team completes its season then positions immediately become vacant for Season 2019. Thus, applications are now open for Coaches to apply for 2019.
Congratulations to all Coaches, Team Managers and Parents who played roles during the year. You are a credit in how you've gone about doing what is required. Most teams have now concluded their 20186 season. It's been extremely pleasing to see you all out and about during the season. Now it would be just as pleasing to see many out supporting our Finals' teams next Sunday. Players feel special when competing in finals, to see a sea of Red, White and Black at their games. Please try to get to the finals.
The Club extends its congratulations to Xavier Noonan who finished first in this main race. Well done all for taking part and thanks to the organisers.
Our Club Captains Tyler, Alex and Brooke spoke eloquently at Burger Night about the season and all the players contribution for the year. Thanks for your help with the raffle. Unfortunately, our Colts and U18 Youth Girls teams fell short in making finals this year. Well done on your final year of Junior footy.
The second half of the season has seen more players awarded. Recipients received their 50 game medals and 100 game trophies on Sunday night. Our 150 Gamers will receive their trophies on the 9th September at Presentation Day.
Congratulations to all on achieving your wonderful milestones!
Finals on this Sunday, let's go out and support all.
If at any stage you wish to raise issues with me, please feel free to do so either personally or via the telephone!